WingSpan Theater's production of The Gnadiges Fraulein by Tennessee Williams proved that exceptional talent can transform manure into fertilizer. This off-the-wall tragi-comedy wrapped in a Theater-of-the-Absurd blanket with a sado-masochistic binding (yes, it really is a comedy) is set in Cocaloony Key, the southernmost key in the country -- think Key West with attitude.
As the figurative bell rings, Polly (Beverly Jacob Daniel) bolts from the starting gate attired in a plaid suit topped by a garish hat and bottomed by a pair of Barnum-and-Bailey bloomers peeking out from under her skirt. She is dodging the swooping cocaloony birds, or "maybe just one bird making a u-turn." She is the Luella Parsons of Cocaloony Key, a gossip columnist ever in search of a salacious story. She arrives at the rickety bunkhouse for permanent transients run by Molly (Susan Sargeant), a frowsy crone attired in a purple-and-red floral mumu and furry bunny slippers. She is sporting large flowers in her hair and wearing lots of rouge and lipstick.
As Polly approaches, Molly busies herself mopping blood off the front step. She claims it came from a chicken she killed, but Polly isn't buying this story. Molly denies anything is amiss. As Polly leaves, she starts to light up her reefer (for all you non-smokers: all smoking is faked) and Molly invites her to come back, with the promise of some juicy gossip, to sit on the front porch and stay a while, and "we can turn on together."As Molly directs a shtick in which they synchronize their rockers -- oh, well, you just have to see this recurring ritual for yourself.
We also meet a denizen of Molly's boarding house, the eponymous Gnadiges Fraulein (Lulu Ward), a demented former Viennese actress past her prime who once performed for royalty. She shared the stage with a trained seal and its trainer until she upstaged the seal by intercepting the fish thrown to the seal by the trainer. We learn of the donnybrook between the seal's agent and the Fraulein's agent, and from there the story keeps getting more bizarre, if that's possible.
We witness the Fraulein's many misfortunes -again, you won't believe it if I tell you; you just have to see it for yourself. Lulu Ward gives an outstanding rendition of this poor lost soul.
Among all the related hi-jinks we meet the Cocaloony (Jeff Swearingen) in all his feathery finery. His costume, well, I won't ruin your surprise, but suffice to say he steals every scene he inhabits. Joel McDonald is the studly young blonde Indian, Joe, whose tryst with Polly behind a lighted scrim and open window is a hoot.
Rene Moreno has outdone himelf as the director of all this lunacy. Randel Wright's set design is a masterpiece of suggestion and simplicity. Lowell Sargeant's sound design renders a perfect accompaniment to the onstage madness. Barbara Cox must have stayed up nights dreaming up such fantastic costumes, topping even herself with the get-up worn by the Cocaloony. Movement consultant Jeffry Farrell employs some imaginatively kooky actions for all the characters. The chemistry between Sargeant and Daniel is nothing short of hilarious. (They have worked together for several decades.)
While The Gnadiges Fraulein is not a play for everybody, you won't see finer acting on any Dallas stage.
